paul_5

Just bought an EHX bass micro synth from Derrick, really well looked after piece of kit and a smooth transaction. Really genuine guy and clear communication throughout. Paul

I just bought a looper form Dave, really quick posting, even beat the Royal bank holiday. Top guy.

439 hits, no bids? says it all really.

[quote name='Badass' post='1217788' date='May 2 2011, 05:27 PM']The 3500 is 350 Watts into 4 Ohms, and 240 Watts into 8 Ohms. A single 4 x 10 Hydrive would be fine..1000 Watts at 8 Ohms. There are also 1 x 15 Hydrives and a new 1 x 12 @ either 4 or 8 Ohms. Check the website form more details. Maybe wait a while and see what other users have to say. I sure there will be more suggestions posted here in the next day or two. [/quote] My Hydrive 410 is absolutely brilliant, handles anything I can throw at it (including 5 string basses through octavers and synth pedals). Not too heavy either. Loads of headroom and detail for the money.

Buy my snake oil. I reckon I'll keep all of my old strings, then shove them in the compost heap for a week or so, then start selling 'relic'ed strings'. Just the thing for that vintage tone...

[quote name='lettsguitars' post='1217074' date='May 1 2011, 11:56 PM']shouldn't the compressor come first in the chain? after the tuner of course.[/quote] Not necessarily, I like my envelope filter to have the full dynamic range of my bass' output, then compression comes later. Horses for courses I suppose.

Hey y'all. A bit of advice needed, I'm currently trying to decide between an EHX Bass Big Muff, Ashdown drive plus, or the James Lomenzo hyperdrive. I've already got an MXR M80+, which I like to use for a little bit of crunch, but want something a bit more RAAAAHHHHHH in my main dirt box, and am swaying more towards the BBM, what would you do?

Also, don't never lose 'tha ONE' baby!

No, but I sometimes use bass strings to tie my hair back. That's the same innit?

I'll go for the tuners please, both of my elephants need new ears! PM'ed

Yeah, +1 for anything 'muff' Some people hate the tone stack, but I think it works really well, dead easy to set up. Tried an ODB3 years ago, and couldn't get a decent sound out of it (for what I wanted). The muffs just sing with all that sustain.

Another area where age=cash is vintage studio gear. Compressors etc... from the '50s and '60s go for silly money. Surely there's an app for that?

Seen them twice (RTB and R30 tours) and loved every minute of it. The 'Bones tour was my introduction to the mighty Primus too. I'm away to see Primus this year, but can't really justify the ticket prices to see Rush again, as much as I love them. Hopefully they'll tour the next album, and I'll make sure that I go to that, but things being as they are I can't spend the better part of £100 to see a band for the third time. On the plus side, I get another night to practice [small consolation emoticon]

[quote name='waynepunkdude' post='1215403' date='Apr 29 2011, 11:00 PM'][/quote] [tongue hanging out avatar] LOVE that ampeg stuff.

[quote name='steve-soar' post='1215256' date='Apr 29 2011, 07:31 PM'][url="http://malekkoheavyindustry.com/index.php/all-effects-pedals/b-assmaster"]http://malekkoheavyindustry.com/index.php/...als/b-assmaster[/url][/quote]

US made Ampeg SVP PRO blackface. lovely piece of kit. Also MXR M80.

Nobody touches my bass. It is my bass. There are many like it, but THIS ONE is MINE. I'm not that fussed really, as long as I got it back then I'd be happy. Back to the OP, I'd like LEs Claypool to have a stab at 'Tommy the Cat' on my bass, as I'm not sure my bass knows this tune, and if anyone could coax it out, then Les can.

Some nice grooves there. That RH seems to give juuuuust enough dirt to the proceedings too. More power to your thumb, sir.

Currently GASSing for nothing right now, waiting for a 24v EHX Bass Micro Synth and an active looper pedal to arrive in the post which will complete the board (well, not quite...), but honestly, since I bought my Blade B15 I've never thought of selling it, not even once. 3 years with the same bass and I still love it. Ordered some flats this week too so should be even better when they arrive. Both my amps are US made Ampegs that sound great, so more than happy on that front. For the first time in years I'm content, nay happy, with my sound and setup. It feels a bit weird TBH.

I'm a huge fan of ProTools, it's dead easy to get great results when recording. I also write a lot in Sibelius, which is nowhere near the cheapest software, but it mans that when I've finished writing a guitar line I can TAB it (I Know!) for the guitarists in the band, and print it out, so that they can lose it. It'll also convert scores to MIDI files, which means that they can be imported into your DAW of choice (with all the tempo, time signature and key(s)) to form a fairly detailed guide track for recording later on. Not really bass specific though...

[quote name='EskimoBassist' post='1214014' date='Apr 28 2011, 05:57 PM']MXR M-80. Cheaper, but with a seperately switchable distortion channel and a 3 band EQ which actually gives you control over your mids, unlike the Sansamp. Not as cheap as the Behringer though, so if you like the stock Sansamp sound, but don't want the price tag, go for that.[/quote] +1, these are brill. I picked one up used with the original box for £80. Built like a tank, plus it can be powered by phantom power from a desk. They occasionally pop up in the 'for sale' section on here.

I reckon your singer has a good voice for more jazzy stuff, she can hold a tune and does move a little bit to try to entertain folks, so full marks for trying, but on first listening it seems like the entire set has been transposed to suit the singer's range, which in this instance doesn't really work for me. Also you as a bass player and your guitarist could try to move a bit more; if punters just wanted to listen to music then they'd be drinking kestrel super strength in their front gardens on discarded sofas, punters need to be entertained, and it's everyone's responsibility to ensure that that happens. I know it sounds like I'm being really picky, but I've had similar problems in the past with shoe-gazing musicians who were excellent players but not entertainers. That's a real bug-bear of mine, as if only one of you makes the effort to move around a bit you risk looking like that drummer at the wrong gig (you've probably seen it on here before now...). Bottom line is to find some songs that your singer can do in the original key, or find a singer who is more versatile. Oh, and move a bit more, even if you have to consciously choreograph everything at first, it'll make a difference in the long run. Cheers, Paul